If there was ever a flick to skip the popcorn on, it’s this one. Coralie Fargeat’s latest film, The Substance (2024), is a stomach-churning concoction of body horror and comedy that makes for an insanely monstrous watch.  

Emerging from the festival circuit in all its adrenalised glory, Strange Darling is a nightmarishly visceral masterclass in subversion which keeps you on your toes from the get-go.

Peter Weir’s second feature The Cars That Ate Paris (1974) has an underlying power, and it’s both due to how raw it is as a cultural and industrial satire, and how much Peter Weir’s delicate emotional trademarks manage to bleed themselves into the expression of this bizarre premise.

Director Jane Schoenbrun impresses with I Saw The TV Glow - a horror flick which is only half-scary but full heartbreaking.

Whilst applaudable in its attempt to meld lycanthropy with modern-day political concerns, Blackout is a poignant character study hampered by heavy-handed exposition which renders its bark worse than its bite.

For those willing to embrace its unique approach, Nash's film offers an off-kilter and strangely beautiful experience.

Grab your popcorn, silence your phone, and sit down for A Quiet Place: Day One - just don’t expect it to leave you anywhere near as speechless as its survivors.

Longlegs still manages to stand out despite the abundance of highly effective and artful horror we are afforded in the modern era.

If you’re an avid fan of horror films and especially love slashers, this is the film for you; if I’m not describing you, but you’re willing to give it a shot, you’ll find a fun ride of a movie with a few laughs and thrills along the way!

There are whispers of a great movie in The Watchers, with Ishana’s directorial eye occasionally shining through the film’s middling aspects, however at present her directing style feels imitatively beholden to superficial notions of M. Night’s storytelling sensibilities, and I’d love for her to find her footing amidst the depths of the forest.

To put it bluntly, The Exorcism is an atmospherically stagnant cinematic offering akin to a long walk down a windy beach to a café that isn’t open.

There's a decent helping of funny-bad horror movie moments that include a particularly saucy burger, the ol’ spontaneously exploding motorcycle trick, and a singular rat being treated as if it's the most terrifying creature on the planet, but the overall experience is about as satisfying as eating soup with a fork.

The Deep Dark just doesn’t quite dig deep enough, uncovering a hole that's barely big enough to bury itself in.

If decapitated heads, Tumblr-edit-worthy quotations about the human condition, traditional Slavic folklore, and harrowing cinematography are your thing, then look no further than Le Vourdoulak.

In Divinity, writer-director Eddie Alcazar seems to have crafted a readymade cult object. A film completely furnished with textual references, grotesque violence, hyper-stylised visuals, and mixed media experimentation, seemingly destined to attract a small coterie of like-minded fans and repeat viewers. The only issue is that I can’t imagine anyone sitting through this twice.

The First Omen is a quiet triumph for modern horror, understanding the delicate balance between terror and beauty, and between homage and innovation.

Hood Witch is redolent of self-importance, so deeply invested in its own world that it barely pauses to consider the viewer’s ability not to care about its mediocre characters and plot delivery.

Fans of bizarre, esoteric and extreme films, who live around Melbourne and Sydney can rejoice, because it's that time of year - Fantastic Film Festival Australia is back once again.

Watch out Cullens, there's a new vampire family in town! Fans of Twilight (2008), Dark Shadows (2012), Submarine (2010), and Moonrise Kingdom (2012), get your fangs out and sink your teeth into this quirky vampire coming-of-age film.

Imaginary is a confounding experience, with absolutely none of the first draft wrinkles of the script ironed out.